This article explores the political meanings of a relatively unexplored dimension of Edmund Burke's thought: the monster. After first showing the extent to which the figure of the monster appears throughout Burke's work, the article speculates on some of the political reasons for Burke's use of the metaphor of the monstrous. These reasons are rooted in the categories of the aesthetic developed in the Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful, and also in (...) his political fear of a new collective entity only beginning to emerge on the historical stage: the proletariat. The article therefore has three aims: first, to contribute to the developing body of literature on Burke's aesthetic ideology; second, to deepen our knowledge of the Gothic tropes in Burke's writings; and third, to broaden our conception of the way conservative ideology conceptualizes order and the threats to that order. (shrink)

In this study, I have outlined the path through which the “monster” typology in its multiple meanings came to be defined in the context of the history of classical antiquity. In following this path, attention was paid more to the monstrous entities of the Greek mythological tradition.

The monster is created as a marvel, as something which, like transgression itself, does not belong to the assumed natural order of things. It is a liminal creature which embodies the very boundaries humans have overreached. The latest perspectives on the concept of the monstrous are connected to the new technological experiments and to artificial intelligence. Technology problematizes the real vs the virtual, the human vs the inhuman, the concept itself of legal persona: all this sets itself within a (...) posthuman scenario. The movies Transcendence and Her perfectly epitomize these concepts, because in the former the conscience of the scientist Will is downloaded into a computer, from which he emerges as a new monstrous entity; in the latter a computer program, a voice, so artfully interacts with man as to give the impression of a reasonable and independent human being. (shrink)

In the theory of epigenesis living beings are created by agglutination of different elements. The monstrous entities are the result of a non regular agglutination. Nonetheless, on another side, an apparent disorder is what explicitly shows the inner nature of divine powers. Agglutinations of heterogeneous parts mirror the hidden connections of a net that crosses the universe, making divination, rituals and liturgies possible. The article lists evidence of this cosmological conception in different kinds of textual cuneiform documents.

Monsters lurk within mathematical as well as literary haunts. I propose to trace some pathways between these two monstrous habitats. I start from Jeffrey Jerome Cohen’s influential account of monster culture and explore how well mathematical monsters fit each of his seven theses. The mathematical monsters I discuss are drawn primarily from three distinct but overlapping domains. Firstly, late nineteenth-century mathematicians made numerous unsettling discoveries that threatened their understanding of their own discipline and challenged their intuitions. The great French (...) mathematician Henri Poincaré characterised these anomalies as ‘monsters’, a name that stuck. Secondly, the twentieth-century philosopher Imre Lakatos composed a seminal work on the nature of mathematical proof, in which monsters play a conspicuous role. Lakatos coined such terms as ‘monster-barring’ and ‘monster-adjusting’ to describe strategies for dealing with entities whose properties seem to falsify a conjecture. Thirdly, and most recently, mathematicians dubbed the largest of the sporadic groups ‘the Monster’, because of its vast size and uncanny properties, and because its existence was suspected long before it could be confirmed. (shrink)

Whenever the membranes of the egg in which the foetus emerges on its way to becoming a new-born are broken, imagine for a moment that something flies off, and that one can do it with an egg as easily as with a man, namely the hommelette, or the lamella. The lamella is something extra-flat, which moves like the amoeba. It is just a little more complicated. But it goes everywhere. And as it is something - I will tell you shortly (...) why - that is related to what the sexed being loses in sexuality, it is, like the amoeba in relation to sexed beings, immortal - because it survives any division, and scissiparous intervention. And it can turn around. Well! This is not very reassuring. But suppose it comes and envelopes your face while you are quietly asleep... I can't see how we would not join battle with a being capable of these properties. But it would not be a very convenient battle. This lamella, this organ, whose characteristic is not to exist, but which is nevertheless an organ - I can give you more details as to its zoological place - is the libido. It is the libido, qua pure life instinct, that is to say, immortal life, irrepressible life, life that has need of no organ, simplified, indestructible life. It is precisely what is subtracted from the living being by virtue of the fact that it is subject to the cycle of sexed reproduction. And it is of this that all the forms of the objet a that can be enumerated are the representatives, the equivalents. Every word has a weight here, in this deceivingly poetic description of the mythic creature called by Lacan "lamella". Lacan imagines lamella as a version of what Freud called "partial object": a weird organ which is magically autonomized, surviving without a body whose organ it should have been, like a hand that wonders around alone in early Surrealist films, or like the smile in Alice in Wonderland that persists alone, even when the Cheshire cat's body is no longer present: "'All right', said the Cat; and this time it vanished quite slowly, beginning with the end of the tail, and ending with the grin, which remained some time after the rest of it had gone. 'Well! I've often seen a cat without a grin', thought Alice; 'but a grin without a cat! It's the most curious thing I ever saw in my life!'" The lamella is an entity of pure surface, without the density of a substance, an infinitely plastic object that can not only incessantly change its form, but can even transpose itself from one to another medium: imagine a "something" that is first heard as a shrilling sound, and then pops up as a monstrously distorted body. A lamella is indivisible, indestructible, and immortal - more precisely, undead in the sense this term has in horror fiction: not the sublime spiritual immortality, but the obscene immortality of the "living dead" which, after every annihilation, re-composes themselves and clumsily goes on. As Lacan puts it in his terms, lamella does not exist, it insists: it is unreal, an entity of pure semblance, a multiplicity of appearances which seem to envelop a central void - its status is purely fantasmatic. This blind indestructible insistence of the libido is what Freud called "death drive," and one should bear in mind that "death drive" is, paradoxically, the Freudian name for its very opposite, for the way immortality appears within psychoanalysis: for an uncanny excess of life, for an "undead" urge which persist beyond the cycle of life and death, of generation and corruption. This is why Freud equates death drive with the so-called "compulsion-to-repeat," an uncanny urge to repeat painful past experiences which seems to outgrow the natural limitations of the organism affected by it and to insist even beyond the organism's death - again, like the living dead in a horror film who just go on. This excess inscribes itself into the human body in the guise of a wound which makes the subject "undead," depriving him of the capacity to die : when this wound is healed, the hero can die in peace. (shrink)

This essay follows two lines - the one cinematic, the other philosophical - towards an intersection located in what we call 'the animal'. Be it the bleak picture of "bare life" drawn by Agamben, or the more positive image of the "animal that therefore I am" depicted by Derrida, philosophers of various hue have shown increasing interest in the idea of the animal as both a normative category (Derrida, Agamben) and a metaphysical one (as when Badiou depicts Deleuze's philosophy as (...) one of "the Animal" in contrast to his own of "Number"). One question that arises from this attention is whether or not these myriad philosophies mediate the animal for their own philosophical purpose as only one, background, instance of aporetic différance (Derrida), proliferated becoming (Deleuze), bare life (Agamben), or even the very model of "bad philosophy" (Badiou). Is every philosophy of the animal a type of what might best be called "philosomorphism" refracting the animal through an image of itself? Adopting the stance of "non-philosophy" from François Laruelle, this essay asks whether, in its (unacknowledged) attempts to shape the animal in its own image, philosophy also succeeds in refracting itself. There is a circularity of philosophical explanations (as Laruelle finds in all philosophy, in fact) that is linked to this sub-species of anthropomorphism: be it positive or negative, inflationary or deflationary, such philosomorphism is indeed resisted by the Real of animals by mutating or morphing what counts as philosophy. The reduction of the non-philosophical presence of the animal to that of being a proxy for différance, rhizomatics, bare life, or whatever else, gains its apparent force in part only by ignoring other aspects of the animal that are placed in the background, namely those that do not fit (or resist) the philosopher and his/her favoured philosophemes. The background revolts. And cinema understood here as a kind of animal, visual-thinking in all of us provides just such a mutation of what we deem thinking to be. The force of cinema simply is the power of the animal that we (always) are when we think in images, or when images think immanently within us. Film images exist where a powerful, animal form of non-human thinking resides. In addition, this essay will argue that the visual-thinking of horror film in particular (or the horrific mode found in all film) demonstrates the monstrous, animal, background as a resistant manifestation of thought. This thought concerns those putatively inert entities that film allows to emerge from the background as living, background life itself, which, by refusing to be ignored any longer, may also reform (or morph) what we mean by philosophy and thought itself. The emergence of the cinematic background horrifies and "revolts" (in both political and affective senses), and this its new kind of thinking. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

Georg Cantor's absolute infinity, the paradoxical Burali-Forti class Ω of all ordinals, is a monstrous non-entity for which being called a "class" is an undeserved dignity. This must be the ultimate vexation for mathematical philosophers who hold on to some residual sense of realism in set theory. By careful use of Ω, we can rescue Georg Cantor's 1899 "proof" sketch of the Well-Ordering Theorem––being generous, considering his declining health. We take the contrapositive of Cantor's suggestion and add Zermelo's choice (...) function. This results in a concise and uncomplicated proof of the Well-Ordering Theorem. (shrink)

Certain artworks appear to have multiple meanings that are also contradictory. In some instances they have attracted so much attention that they are effectively out of the reach of individual monographs. These artworks are monstrous.One reason paintings may become monstrous is that they make unexpected use of ambiguation. Modern and postmodern works of all sorts are understood to be potentially ambiguous ab ovo, but earlier--Renaissance and Baroque--works were constrained to declare relatively stable primary meanings. An older work may (...) have many "layers" of meaning, but it is normally expected to declare its principal message or subject matter, together with its allegiance to one idea or theme. Contemporary historical interpretation expects those stable starting meanings, even as it relishes the exfoliating ambiguities that may come afterward. So when the interpretive apparatus of art history runs up against premodern paintings that intentionally work against unambiguous primary meanings, it can generate a potentially incoherent literature.Some of the most monstrous pictures are Leonardo's Last Supper, Michelangelo's Sistine Ceiling, Watteau's fête galante paintings, Botticelli's Primavera, and Giorgione's Tempesta. The interpretive trichotomy of "Subject," "Not-Subject," and "Anti-Subject" is employed to talk about the ambiguity and polysemy of these monstrous works.This interpretive trichotomy helps order unruly accounts of the most complex artworks. In so doing it illuminates not only some monstrous pictures but a general area of historical interpretation: how to speak of the meaning of a created work in a way that does justice to its complexity and internal tensions. (shrink)

This paper introduces the Monstrous Conclusion, according to which, for any population, there is a better population consisting of just one individual (the Monster). The Monstrous Conclusion is deeply counterintuitive. I defend a version of Prioritarianism as a particularly promising population axiology that does not imply the Monstrous Conclusion. According to this version of Prioritarianism, which I call Asymptotic Prioritarianism, there is diminishing marginal moral importance of individual welfare that can get close to, but never quite reach, (...) some upper limit. I argue that Asymptotic Prioritarianism faces a theoretical cost, that I call the Absolute Priority Principle. However, the Absolute Priority Principle is an extreme version of what I call the Trade-off Condition, an already noteworthy problem facing other (more widely endorsed) versions of Prioritarianism. I conclude that it is better for a theory to imply the Absolute Priority Principle and avoid the Monstrous Conclusion than to imply the Monstrous Conclusion and the Trade-off Condition. The potential for Asymptotic Prioritarianism is substantial. (shrink)

A comprehensive analysis of the use of metaphors of monstrosity and death in political theory, specifically in relation to conservatism, Marxism and fascism.

What is the political function of monstrosity? What is the nature of our political relationship with the dead? Why are the undead so threatening? In _The Monstrous and the Dead_, Mark Neocleous explores such questions as they run through three major political traditions: conservatism, Marxism and fascism. One of the things uniting these otherwise opposing traditions is that they share a common interest in the dead. This is therefore a book about the politics of remembrance, showing that how and (...) why the dead register in our political lives constitutes a major dividing line for the political traditions in question: are the dead to be reconciled with the living in a conservative fashion, resurrected for the cause of fascism or are their hopes and struggles to be redeemed for a communist future? Exploring these issues reveals that, as well as leaving traces in memories, dreams and unfulfilled wishes, the dead also generate fears, most notably the fear that they are not really dead: they are undead and thus monstrous. The book therefore simultaneously considers the function of monstrosity as a rhetorical political device: in Burke’s response to the monstrous revolution, Marx’s use of the vampire and fascism’s concept of the Marxist-liberal-Jewish menace. The outcome is an original reading of key thinkers and movements in western politics, a provocative account of the role of political metaphor and an eclectic argument concerning the place of the dead in historical struggles. (shrink)

Bounds consequence provides an interpretation of a multiple-conclusion consequence relation in which the derivability of a sequent is understood as the claim that it is conversationally out-of-bounds to take a position in which each member of Γ is asserted while each member of Δ is denied. Two of the foremost champions of bounds consequence—Greg Restall and David Ripley—have independently indicated that the shape of the bounds in question is determined by conversational practice. In this paper, I suggest that the standard (...) treatments of bounds consequence have focused heavily on the matter of veridicality at the expense of ignoring other features by which conversational bounds are set, prime among them being the matter of content or subject-matter. Furthermore, I argue that the semantic behavior of propositions containing “monstrous” content—content whose introduction is inappropriate to a context independently of veridical considerations—leads to a weak Kleene account of bounds consequence. (shrink)

While the presence of monsters in popular culture is ever-increasing, their use as an explicit or implicit category to frame, stigmatise, and demonise the other is seemingly on the rise. At the same time, academic interest for monsters is ever-growing. Usually, monstrosity is understood as a category that emerges to signal a transgression to a given order; this approach has led to the demystification of the insidious characterisations of the (racial, sexual, physical) other as monstrous. While this effort has (...) been necessary, its collateral effects have reduced the monstrous to a mere (socio-cultural) construction of the other: a dialectical framing that de facto deprives monstrosity from any reality. 'Monstrous Ontologies: Politics, Ethics, Materiality' proffers the necessity of challenging these monstrous otherings and their perverse socio-political effects, whilst also asserting that the monstrous is not simply an epistemological construct, but that it has an ontological reality. There is a profound difference between monsters and monstrosity. While the former is an often sterile political and social simplification, the end-product of rhetorical and biopolitical apparatuses; the latter may be understood as a dimension that nurtures the un-definable, that is, that shows the limits of these apparatuses by embodying their material excess: not a 'cultural frame', but the limit to the very mechanism of 'framing'. The monstrous expresses the combining, hybridising, becoming, and creative potential of socio-natural life, albeit colouring this powerful vitalism with the dark hue of a fearful, disgusting, and ultimately indigestible reality that cannot simply be embraced with multicultural naivety. As such, it forces us towards radically changing not the categories, but the very mechanisms of categorisation through which reality is framed and acted upon. Here lies the profound ethical dimension that monstrosity forces us to acknowledge; here lies its profoundly political potential, one that cannot be unfolded by merely deconstructing monstrosity, and rather requires to engage with its uncomfortable, appalling, and revealing materiality. This book will appeal to postgraduate students, PostDocs, and academics alike in the fields of philosophy, critical theory, humanities, sociology and social theory, criminology, human geography, and critical legal theory. (shrink)

In this paper I argue that “monstrous” women – violators of both moral and gender norms – mark the limits of acceptable behavior through such violation and thus provide particular insight into the workings of gendered power relations within contemporary western societies. Drawing upon Michel Foucault’s 1975 College de France course titled Abnormal , I begin by arguing that gendered power relations in western societies can be characterized as “normalizing.” Next, I refer to Foucault’s discussion of “natural” and “moral” (...) monsters in order to provide a sketch of the monstrous woman, and then show how specific monstrous women violate moral and gender norms. By way of conclusion I argue that the figure of the monstrous women is not wholly negative but rather ambivalent. As Foucault asserts, monsters are “limit figures;” monstrous women challenge limits – including prevailing norms governing the feminine and the human – in ways that render them explicit such that they are denaturalized and ultimately opened up to critical interrogation. (shrink)

This article focuses upon monstrously generous teaching styles, enacted in neocolonial educational contexts, where the interactions between students and teachers are sometimes tense and mistrustful. The tensions between students and teachers are explained by discussing the ways in which schools—in the theoretical perspective of Roberto Esposito—operate to immunize the society against youth deemed improper. Utilizing the theories of Antonio Negri, James Baldwin, and W.E.B. Du Bois, the characterization of students as monstrous is discussed and an inversion is suggested, whereby (...) students deemed to be monstrous are considered the source of reinvigorating visions of society. The pedagogical approaches of teachers who seek to welcome and nurture monstrous students are described, relying upon the accounts of great teachers offered by educators and sociologists. In practice, monstrously generous teachers make supererogatory gestures in their interactions with students, as a way of signaling to heavily-armored youth that they are willing to enter reciprocal relationships with them. Once youth drop their armor and begin to share their perspectives, monstrously generous teachers develop multiple means of helping youth develop their worldviews, without surveillance or censor. (shrink)

Essays devoted to the work of the late Neil Wilson, Canadian philosopher and contributor to the field of semantic analysis that emerged from the fusion of logic, pragmatism, and ontology. Many of the essays in this volume take their initial inspiration from Wilson's seminal work Substances Without Substrata.

The monster and the woman thus find themselves on the same side, the side of dissimilarity. “The female is as it were a deformed male,” added Aristotle . As she belongs to the category of the different, the female can only contribute more figures of dissimilarities, if not creatures even more monstrous. But the female is a necessary departure from the norm, a useful monstrosity. The monster is gratuitous and useless for future generations. Aristotle’s seminal work on the generation (...) of monsters posited a rigorously physical definition that was not necessarily linked to deformities: “Monstrosities,” he wrote, “come under the class of offspring which is unlike its parents” . Further, while a “monstrosity, of course, belongs to the class of ‘things contrary to Nature,’ … it is contrary not to Nature in her entirety but only to Nature in the generality of cases” .The monster, defined repeatedly by its lack of resemblance to its legitimate parents, is also monstrous in another important way, one that Aristotle described as a false resemblance to different species: “People say that the offspring which is formed has the head of a ram or an ox; and similarly with other creatures, that one has the head of another.… at the same time, in no case are they what they are alleged to be, but resemblances only” . The monster is thus a double imposture. Its strange appearance—a misleading likeness to another species, for example—belies the otherwise rigorous law that children should resemble their parents. Further, monsters offer striking similarities to categories to which they are not related, blurring the differences between genres, and disrupting the rigorous order of nature. Thus, if the monster were defined in the first place as that which did not resemble him who engendered it, it nevertheless displayed some sort of resemblance, albeit a false resemblance to an object external to its conception. Marie-Hélène Huet is William R. Kenan Professor of Romance Languages at Amherst College. She is the author of Rehearsing the Revolution: The Staging of Marat’s Death, 1793-1797 and is currently completing a book on literature and tetratology. (shrink)

In this paper, I give an argument for the view that non-fact entities – such as physical objects, abstract objects, events and so on – can ground other entities. Roughly put, the argument is as follows: those who accept this view can provide a more plausible account of the grounds of identity facts than those who deny this view.

In France between 1780 and 1815, doctors opened a broad correspondence with medical faculties and public officials about foetal anomalies . Institutional and legal reforms forced doctors to encounter monstrous births with greater frequency, and they responded by developing new ideas about heredity and embryology to explain malformations to public officials. Though doctors achieved consensus on pathogenesis, they struggled to apply these ideas in forensic cases, especially with doubtful sex. Medical networks simultaneously allowed doctors to explore obstetrical techniques, as (...) licensing regulations forced practitioners into emotional encounters with child anomalies. Doctors thus developed a new ethics for treating monstrosities, viewing them as pathological specimens, forensic objects, and obstetrical tragedies. (shrink)

Given that they are chance events, there can be no scientific demonstration or knowledge of monsters. There are still, however, many recognizable elements of scientific explanation in Aristotle's Generation of Animals Book IV chapter 4. What happens in cases of monsters and deformities occurs in the process of generation, and there is much that we can know scientifically about this process—working from the animal’s essential attributes outward to factors that influence these processes. In particular, we find Aristotle looking for and (...) investigating whether “for the most part” correlations are causally relevant and linked to essence. Even though the birth of monsters is scientifically inexplicable, the features of animals that tend to produce them can be known about. I will explain how it is that producing more than one offspring per birth is a knowable feature of a kind. This feature, along with others, can then give us a much better grasp on what happens in particular instances of monstrous birth. (shrink)

Monstrosity has its recognized place in cultural narratives but in philosophical discourse it remains mostly untouched. In my paper I make an attempt at phenomenological inquiry into the experience of the Other’s monstrous body. I am beginning with some remarks concerning Georges Canguilhem and Michel Foucault, the philosophers who devoted some attention to the problem of monstrosity and the monstrous, but my analysis is mainly based on the works of Bernhard Waldenfels, Edmund Husserl and Maurice Merleau-Ponty. Waldenfels emphasizes (...) that the corporeal self is somehow perceived as alien, always somewhat distanced and not totally graspable. He also argues that the closer the Other, the stronger activation of the boundary between the spheres of the ownness and the alienness is caused. A promising framework for the analysis of the ambivalent reaction brought about by the encounter with a monstrous human body can be provided by Husserl’s phenomenological inquiry into the process of pairing, developed in his Cartesian meditations. It seems that in this experience the pairing process is frustrating and deranged because the process of apperception is disturbed by a cluster of untypical or quite unique characteristics of the monstrous body. In result, its sense remains unclear, puzzling and challenging. Interesting light on the experience of the Other’s monstrous body could shed Merleau-Ponty’s phenomenology, especially the ideas of flesh and chiasm outlined in his last work. The radical character of the monster, while does not render it something totally different from the own, elucidates, however, the contingency of the order under which the human corporeality is subsumed. (shrink)

This paper is an investigation into writing that describes, and in many ways objectifies and marginalises, the queer. Specifically, the paper looks at the fairytale, and discusses how such narratives might be rewritten by authors informed by Queer Theory. This analysis is undertaken to reflect on, theorise, and position the creative writing strategies and practice of queer writers working within the field of fairytale fiction. A major proposition of this paper is that many fairytales feature what will be defined as (...) “Monstrous Queer” figures. A further delineation of this paper is to foreground the moment of narrative closure – the fairytale ending. This is done because fairytale endings routinely involve the Monstrous Queer being destroyed or punished. This paper is concerned with how queer writers have undertaken a positive rewriting of these figures of the Monstrous Queer and how a critical engagement with Queer Theory might further inform this rewriting. It will be shown that writers of queer fairytales have utilised the very familiar figures of the fairytale – narrative clichés as it were – in familiar settings, with familiar plot devices but, significantly, with a shifted emphasis, a revaluation, that has a considerable deconstructive potency. (shrink)

In this article I consider instances in visual culture in which artists and filmmakers aestheticize women with damaged, missing or anomalous limbs. I focus upon Joel Peter Witkin’s photomontage Las Meninas (1987), Peter Greenaway’s film “A Zed and Two Noughts” (1985), Alison Lapper Pregnant a statue by Marc Quinn, Mathew Barney’s film “Cremaster” (2002), David Cronenberg’s “Crash” (1996), Luis Buñuel’s “Tristana” (1970) and David Lynch’s short film “The Amputee” (1973). I argue that although the artists and filmmakers reveal, rather than (...) disguise the damaged, anomalous or missing limb(s) of the women, thus valorising their particular embodiment, these women are paradoxically still portrayed as deviant and monstrous. (shrink)

‘Do you see this egg? It is with this that all the theological schools and all the churches of the Earth will be overturned.’Diderot, Entretien avec d'Alembert (Conversation with d'Alembert)About fifteen years ago I took a journey through the famous work of Mary Shelley, and the interpretation of her warning call. Let me say briefly why I am interested in Mary Shelley.At the beginning of the 80s I was invited by a journal to reflect on what was totally new at (...) that time: the birth of children conceived asexually and outside the body by in vitro fertilization. At that time very little work existed on these issues, though they were soon to generate a great deal of ink. The only publications to have appeared were Jacques Testart's very first book, De l'éprouvette au bébé spectacle (From the test tube to the miracle baby), and René Frydman's L'irrésistible désir de naissance (The irresistible desire for birth). (shrink)

This article interprets David Lynch's Mulholland Drive (2001) to argue for the morphological influence cinematic images have on modernity's monstrous identity. It shows how Lynch's tactic of interweaving apparently discrete spaces of dream and reality – one often inverting or uncannily ironising the other – relies on the virtual space of cinema, which leaves a mark on understanding, irrespective of its apparent truth. To do so, I employ Peter Sloterdijk's philosophy of space – especially the spherology developed in his (...) Spheres trilogy – and Bernard Stiegler's approach to cinematic phenomenology to consider the transferential force of cinema, and its power to cultivate and shape popular consciousness. Mulholland Drive is acutely aware of this force, and its interplay with the expectations and disappointments of Hollywood monstrosity inserts itself into the sphere-forming traffic of modern meaning-making. In doing so, I argue, the film takes up Lynch's familiar approach to irony and the weird to unwind the destructive uniformity of Hollywood hegemony. The productive bifurcations that result, inscribed in between cinema and consciousness, and forgettable as the very spheric intimacy of memory, gesture to what might live beyond discrete forms. (shrink)

According to Kemp Smith, Descartes believed that animals were devoid of feelings and sensations. This is the so-called ‘monstrous thesis,’ which I explore here in light of two Cartesian approaches to animals. Firstly, I examine their original treatment in function of Descartes’ early metaphysical approach, i.e., all natural phenomena are to be elucidated in terms of mental scrutiny. As pain would only exist in the understanding, and animals have neither understanding nor souls, Descartes held that they did not suffer. (...) Secondly, I look at the Cartesian late naturalism; specifically, at how animals are subsequently regarded as machines that may suffer. Lastly, I conclude that the ‘monstrous thesis’ is not Cartesian because animals are machines with feelings and sensations. However, Descartes’ surprising indulgence towards humans who kill and eat animals supposes that empathy for beings who may suffer is not necessary. This may raise doubts as to another ‘monstrous thesis.'. (shrink)

This essay remarks upon a seeming paradox in the philosophical anthropology of Joseph de Maistre (1753–1821). He presents a traditional Platonic asymmetry of reason and the passions. This is put to the service of an Origenistic-universalistic theology that revolves around questions of guilt, punishment and redemption and a theory of sacrifice. Maistre is far from being the irrationalist that many political theorists observe, even if he presents an antagonistic relationship between reason and passions, the rational self and its desires. The (...) apparently grim and sanguinary Platonism of the Savoyard Count can be neatly compared with Kant and contrasted with Hume’s sanguine, if not breezy, view of reason as a slave to the passions. (shrink)

Apocalyptic fictions abound in contemporary culture, multiplying end-of-the-world fantasies of environmental collapse. Meanwhile, efforts toward global sustainability extrapolate from deep-past trends to predict and manage deep-future scenarios. These narratives converge in “eco-eschatologies,” which work as phantasms that construct our identities, our understanding of the world, and our sense of responsibility in the present. I critique ecoeschatology’s reliance on an interpretation of deep time that treats every temporal moment as interchangeable and projects the future as a chronological extension of the past. (...) This enacts what Jean-Luc Nancy calls the “catastrophe of equivalence” by domesticating the future and obscuring the incommensurability of what resists substitution, conversion, or exchange. By contrast, the renewal of our responsibility toward the future, without apocalypse or apotheosis, requires an intuition of deep time that respects the singular anachronicity of the present and refuses the framing of existence against a background of annihilation. (shrink)

The world perceived by a person undergoing vision without inversion of the retinal image has traditionally been described as inverted. Drawing on the philosophical work of Maurice Merleau-Ponty and the empirical research of Hubert Dolezal, I argue that this description is more reflective of a representationist conception of vision than of actual visual experience. The world initially perceived in vision without inversion of the retinal image is better described as lacking in lived significance rather than inverted; vision without inversion of (...) the retinal image affects the very content of the perceived world, including, importantly, its expressions and conducts, and not merely the orientation of this content. Moreover, I argue that the enactive approach, rather than a representationist approach, is best able to account for the perception of the world, after prolonged vision without inversion of the retinal image, as both normal and upright, yet still different from the world seen previously. Finally, in their attention to the perception of other people’s facial expressions, I argue that Merleau-Ponty and Dolezal draw out the existential significance of the enactive approach. In encountering another person, the most pressing task is generally not to observe this person’s features but, instead, to engage with this person’s expressions. (shrink)

It is common practice in formal semantics to assume that the context specifies an assignment of values to variables and that the same variables that receive contextually salient values when they occur free may also be bound by quantifiers and λs. These assumptions are at work to provide a unified account of free and bound uses of third person pronouns, namely one by which the same lexical item is involved in both uses. One way to pursue this account is to (...) treat quantifiers and λs as monsters in Kaplan’s sense. We argue that this move should be avoided and explore an alternative route based on the idea that there is a variable assignment coordinate in the context and a variable assignment coordinate in the circumstance of evaluation, with the definition of truth in context identifying them. One fundamental challenge that arises in pursuing a unified account is to explain the difference in the way the gender presuppositions of bound and free pronouns project. The proposal that emerges from the attempt to meet this challenge is a non-indexical account of free third person pronouns and a new conception of the role and structure of assignment functions. (shrink)

In England, Higher Education institutions, together with the schools whose staff they train, are being required to incorporate synthetic phonics as one of the key approaches to the teaching of reading. Yet even if synthetic phonics can be identified as one of the component ‘skills’ of reading, an assumption vigorously contested in this paper, it does not follow that it can or should be taught explicitly and independently of reading for meaning. Imposing such a ‘method’ is, at a deep level, (...) incompatible with teachers acting as teachers and potentially constitutes a kind of abuse of early readers. Moreover, because of the conceptual difficulties confronting any attempt to specify synthetic phonics as an approach, there cannot exist, in principle, empirical research that actually supports its value. Current policy in England since the Rose Report, at least, assumes the opposite. All this cannot be dismissed as a little local difficulty for England concerning the teaching of reading English with all its spelling irregularities: there are broader implications for the relationship between research and teaching, together with continuing tendencies to impose ‘teacher proof’ approaches on schools and their staff in many countries. (shrink)

In England, higher education institutions, together with the schools whose staff they train, are being required to incorporate synthetic phonics as one of the key approaches to the teaching of reading. Yet even if synthetic phonics can be identified as one of the component ‘skills’ of reading, an assumption vigorously contested in this paper, it does not follow that it can or should be taught explicitly and independently of reading for meaning. Imposing such a ‘method’ is, at a deep level, (...) incompatible with teachers acting as teachers and potentially constitutes a kind of abuse of early readers. Moreover, because of the conceptual difficulties confronting any attempt to specify synthetic phonics as an approach, there cannot exist, in principle, empirical research that actually supports its value. Current policy in England since the Rose Report, at least, assumes the opposite. All this cannot be dismissed as a little local difficulty for England concerning the teaching of reading English with all its spelling irregularities: there are broader implications for the relationship between research and teaching, together with continuing tendencies to impose ‘teacher proof’ approaches on schools and their staff in many countries. (shrink)

In this essay, the author contends that Schelling’s first publication, the Philosophical Letters on Dogmatism and Criticism, provides crucial insights into the wide spread philosophical interest in poetic art today. For Schelling, philosophical inquiry finds that its native resource, reason, requires the disclosive power of the poetic genera of tragic drama in order to remedy a crisis which inheres in its very nature and operations.

The present essay analyzes an eighteenth-century phase of the querelle des monstres and highlights two main points. 1) As the cases of Lémery and Winslow demonstrate, in the period when preformation was the dominant view, the dispute over the origin of monsters carried into the very field of preformation the contrast which had originally opposed it to the now defeated model of epigenesis, namely the alternative between mechanical genesis and pre-existence of the monstrous form itself. 2) One of the (...) most important episodes in the shift of teratology from a primarily theological or metaphysical issue to a purely natural one was due to Albrecht von Haller. Haller shifted the dispute from anatomy to embryology; and it is on an embryological base and not on metaphysics that he built his own demonstration of the original nature of the monster. He was furthermore the only scientist of authority who dealt with teratology from an epigenetic standpoint. His numerous changes of view in the field of embryology did in fact never affect his early adherence to the thesis of original monstrosity. (shrink)

In this entry I present one of the most hotly debated issues in contemporary analytic philosophy regarding the nature of fictional entities and the motivations that might be adduced for and against positing them into our ontology. The entry is divided in two parts. In the first part I offer an overview of the main accounts of the metaphysics of fictional entities according to three standard realist views, fictional Meinongianism, fictional possibilism and fictional creationism. In the second part (...) I describe two main kinds of arguments for or against positing fictional entities into our ontology. The first kind is traditionally inspired by the linguistic data coming from our talk about fictional characters. The second kind is more recent and it builds on genuine ontological considerations. (shrink)

This paper is devoted to the search for an argument for the existence of a posteriori identities. I will try to improve on existing predecessors and defend the result against Scott Soames' critique in his recent book "Beyond Rigidity". First I will inspect Kripke's original argument as well as Soames' reconstruction. This reconstruction, while closely related, is shown to differ from Kripke's original in important respects. I will then ask whether either the original or Soames reconstruction may be considered as (...) satisfactory arguments for the existence of aposteriori identities. I will show that this is not the case. These arguments use objectionable notions of apriority, but this problem can be remedied. The result will still be open to Soames main criticism against Kripkean arguments, namely that they are committed to principles of disquotation, principles of a kind that Kripke himself has later shown to be objectionable. Therefore, I will also sketch a defense of principles of disquotation. (shrink)